page_title: Bronze and brass ornamental work
section_title: France
hierarchical_section_title: Bronze and brass ornamental work / European brass and bronze / France
caption_attribution_description: Clock representing Mars and Venus, an allegory of the wedding of Napoleon I and Archduchess Marie Louise of Austria.
context_page_description: The use of bronze dates from remote antiquity. This important metal is an alloy composed of copper and tin, in proportion which vary slightly, but may be normally considered as nine parts of copper to one of tin. Other ingredients which are occasionally found are more or less accidental. The result is a metal of a rich golden brown colour, capable of being worked by casting — a process little applicable to its component parts, but peculiarly successful with bronze, the density and hardness of the metal allowing it to take any impression of a mould, however delicate. It is thus possible to create ornamental work of various kinds.
  The process of casting is known as cire perdue, and is the most primitive and most commonly employed through the centuries, having been described by the monk Theophilus, and also by Benvenuto Cellini. Briefly, it is as follows: a core, roughly representing the size and form of the object to be produced, is made of pounded brick, plaster or other similar substance and thoroughly dried. Upon this the artist overlays his wax, which he models to the degree required in his finished work.
context_section_description: The Candelabro Trivulzio in the Milan Cathedral, a seven-branch bronze candlestick measuring 5 meters in height, has a base and lower part decorated with intricately designed ornament which is considered by many to be French work of the 13th century; the upper part with the branches was added in the second half of the 16th century. A portion of a similar object showing the same intricate decoration existed formerly at Reims, but was unfortunately destroyed during World War I.
  In the 16th century the names of Germain Pilon and Jean Goujon are sufficient evidence of the ability to work in bronze. A great outburst of artistic energy is seen from the beginning of the 17th century, when works in ormolu or gilt bronze were produced in huge quantities. The craftsmanship is magnificent and of the highest quality, the designs at first refined and symmetrical; but later, under the influence of the rococo style, introduced in 1723, aiming only at gorgeous magnificence. It was all in keeping with the spirit of the age, and in their own sumptuous setting these fine candelabra, sconces, vases, clocks and rich mountings of furniture are entirely harmonious. The "ciseleur" and the "fondeur", such as Pierre Gouthière and Jacques Caffieri, associated themselves with the makers of fine furniture and of delicate Sèvres porcelain, the result being extreme richness and handsome effect. The style was succeeded after the French Revolution by a stiff, classical manner which, although having a charm of its own, lacks the life and freedom of earlier work. In London the styles may be studied in the Wallace collection, Manchester Square, and at the Victoria and Albert Museum, South Kensington; in New York at the Metropolitan Museum.
caption: Patinated and ormolu Empire timepiece representing Mars and Venus, an allegory of the wedding of Napoleon I and Archduchess Marie Louise of Austria in 1810. By the famous bronzier Pierre-Philippe Thomire, ca. 1810.
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